In the 1990s, Turkey saw a surge in contemporary art production and discourse, intertwining with social and political movements, although its inclusion in academic programs was limited. Mimar Sinan Fine Arts University (MSGSÜ) initially maintained a distance from the burgeoning diverse practices across Turkey, especially in Istanbul. Nevertheless, dissenting voices began to emerge, albeit sporadically.
The Tapestry Studio, part of MSGSÜ’s Department of Painting, established a distinctive presence both within and outside the university. It merged carpet weaving education with contemporary art, fostering a collaborative learning environment that brought together students, artists, guests, and cultural workers. Founded in 1976–77 by painter and academic Zekai Ormancı, the studio was initially viewed as casual due to its traditional name, but its informal nature eventually led to unforeseen results.
In 1992, Gülçin Aksoy joined the Tapestry Studio as an assistant, infusing it with new energy alongside students and colleagues. Her approach kept the studio’s doors open in both a literal and conceptual sense, influencing the university and Istanbul’s contemporary art scene. The studio’s model expanded through connections with independent art initiatives, feminist groups, and interdisciplinary collectives in Istanbul during the 2000s.
The exhibition “We’ve Been at the Tapestry Studio Since the 90s,” on display until March 1, 2026, at Salt Beyoğlu in Istanbul, highlights the studio’s innovative approach to art education. It emphasizes flexibility, openness, and inclusivity, rarely seen in academia. The show examines the studio’s integration with daily life, showcasing the potential of creative dissent and collective production, through a collection of collaborative and individual works, archival materials, and artist testimonies.
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